EUROPEAN ACADEMIC RESEARCH, VOL. I, ISSUE 5/ AUGUST 2013 ISSN 2286-4822, www.euacademic.org IMPACT FACTOR: 0.485 (GIF) The Paradoxes of Romanian Pop / Rock / Folk in Communist Romania GEORGE VOLCEANOV Faculty of Letters Spiru Haret University Bucharest, Romania Abstract: The paper presents a few unique paradoxes that marked the evolution of Romanian pop, rock and folk music alone in the Communist era. Many Romanian pop, rock and folk musicians found an easy way to circumvent censorship by using canonical poets’ texts as lyrics. This strategy created an unprecedented blend of experimental musical trends and textbook poems. And this strategy co-existed with the promotion of Western hippie anthems and the broadcast of highly successful Western artists such as the Beatles, Bob Dylan, Creedence Clearwater Revival, Bee Gees, and so on. The paper also makes it clear that self-censorship as a shaping factor of pop music was at least as strong as the official censorship exerted by the authorities, that being courageous or opportunistic ultimately depended on the moral fibre of each artist of those days. Key words: pop / rock / folk music, lyrics, censorship, self-censorship, literary canon. The Communist Romania in which I grew up as a child, a teenager and a young man was an uncanny world in many respects. Rock music, which rapidly gained momentum during the 1960s in communist Romania, was a rather controversial topic, mainly because of the regime’s propaganda against Western culture. In 1971, this fear culminated with the famous July Theses (launched by Nicolae Ceausescu during a National 746 George Volceanov – The Paradoxes of Romanian Pop / Rock / Folk in Communist Romania Conference of the Communist Party). Thanks to its growing popularity, rock music was regulated, but allowed to flourish in Romania, often triggering a generation gap not dissimilar to that of the West or other Eastern European countries. After a decade of Latin jazz and tango in the 1950s, beat music started to flourish in the early 1960s. The first pop bands founded in Romania were Uranus (founded in 1961, in Timişoara), Cometele (The Comets, 1962, Bucharest), Sfinţii (The Saints, 1962, Timişoara), Entuziaştii (The Enthusiasts, 1963, Bucharest). Beat was the label officially attached to the rock music of the 1960s. All through the 1960s, Romanian rock bands were permitted to sing in English or other foreign languages; moreover, covers of Western music were requested by Electrecord itself (the only state-sponsored recording company or label), in order to increase disc sales. And yet I shall contradict this piece of information taken from Wikipedia. As early as the late 1960s, the Romanian pop group Coral, nicknamed the Romanian Beach Boys, covered the American band’s hit Top of the World using as lyrics one of the best- known love poems by the national poet Mihai Eminescu (De ce nu-mi vii? / Why Don’t You Come to Me?). In 1971, President Nicolae Ceauşescu delivered the so- called “July Theses” some of whose objectives demanded reorientation of all cultural interests towards national values and treasures. In fact, the July Theses inaugurated a “mini- cultural revolution”; the Romanian rock scene was suddenly confronted with many nascent issues that they had not faced before. Singing in foreign languages was now restricted to other Romance languages, such as French and Italian, or to fellow socialist bloc languages. State censorship was very careful in its choice of Western songs aired on state radio channels, but looking back at those years one cannot help laughing out loudly when one sees the stupidity of the people in charge of censorship. Here are a few examples of famous blunders in terms of censorship: – although Western culture was severely criticized and the hippies were regarded as negative examples for Romanian youth, hippie anthems like Scott McKenzie’s San Francisco and Mary Hopkin’s Those Were the Days (with its French version EUROPEAN ACADEMIC RESEARCH, VOL. I, ISSUE 5/ AUGUST 2013 747 George Volceanov – The Paradoxes of Romanian Pop / Rock / Folk in Communist Romania Les Temps des Fleurs) were broadcast for years on – for non- English speaking Party activists they were songs about a beautiful city and the season of flowers! – although the Beatles had likewise become negative symbols, being frequently used by journalists and fiction writers as a synecdoche for sleazy loafers, no-good youths, their music was massively broadcast in all music-by-request shows. Yellow Submarine, Ob-la-di, Ob-la-da, Hello Goodbye, Penny Lane, The Ballad of John and Yoko, Hey Jude, Let It Be and a dozen more songs with innocuous, harmless lyrics were chosen for broadcast. When the Beatles launched Back in USSR and Get Back, the same non-English speaking censors became suspicious about the message of the respective songs and censored them, thinking they were outspokenly criticizing the Soviet invasion of Czechoslovakia back in the spring of 1968. Other Beatles songs, like Revolution, or post-Beatle songs like George Harrison’s My Sweet Lord and John Lennon’s Power to the People and A Working Class Hero Is Something to Be were never aired in Communist Romania. While Lennon’s Woman Is the Nigger of the World was banned in the USA due to the politically incorrect occurrence of the word nigger in the title, it was aired for many years on Radio Bucharest with its title abridged to Femeia (The Woman). While the Beatles held a privileged position in radio shows, alongside the Bee Gees and Creedence Clearwater Revival, the Rolling Stones never had the slightest chance to become a cult group in communist Romania… and I’ll let you guess why. What happened after July 1971 was this: music, in all its forms, whether pop, rock or folk music, was heavily censored by the totalitarian regime. Censorship worked on all levels, banning undesired lyrics, singers, and bands from live performance in halls and clubs, and from broadcast on radio and television. Censorship had been extremely cautious about lyrics even before July 1971. In 1969, Mondial launched an EP with four songs based on lyrics by canonical Romanian poets: Eminescu – the national POET, Minulescu (a 20th century symbolist poet), Goga (a 20th century nationalist poet), and Toparceanu (author of minor, humorous poems). Mondial thus EUROPEAN ACADEMIC RESEARCH, VOL. I, ISSUE 5/ AUGUST 2013 748 George Volceanov – The Paradoxes of Romanian Pop / Rock / Folk in Communist Romania started a trend of circumventing, eluding censorship by singing lyrics of text-book authors’ poems. Other rock bands, like Phoenix, focused on a mixture of hard rock and ethno-rock; the latter feature was perceptible in the band’s lyrics: popular ballads, ballads of outlawry, lyrics borrowed from mediaeval bestiary. Some of the band’s lyrics were written by neo-avantgarde poet Serban Foarta, whose ingenuity and versatility helped the band recreate the mood of local history and mythology. Another important Romanian band, which emerged on the Romanian pop music stage, Sfinx, used the same trick – playing music on ideologically acceptable lyrics by French mediaeval poet Clement Marot (Languire me fais), Shelley (The Cloud), and Shakespeare (The Fool’s Song from Twelfth Night), the former in French, the latter in Romanian translations. Their first single record featured the Clement Marot lyrics and lyrics by an early twentieth century poet (also translator of Romeo and Juliet and A Midsummer Night’s Dream) St. O. Iosif. Their second record, an EP with four songs, featured a poem by contemporary poet Virgil Carianopol and one by the national poet Eminescu. The first album of the band included lyrics by Shelley and twentieth century Romanian poet Arghezi. The band evolved from pure hard rock and rock ballads to progressive music, so instrumental songs started to replace more traditional songs and text-book lyrics. The launch of their second album was long postponed by censorship. Recorded in 1976 and launched in 1979, it was titled Zalmoxe – the name of a half-priest and half-god from ancient Dacian mythology. Quite paradoxically, while Romanian pop musicians took refuge in the realm of canonical lyrics, Western songwriters otherwise considered hippies, junkies, loafers, and so on, had their lyrics translated into Romanian literary magazines of great prestige (Secolul 20, Luceafarul). Blowin’in the Wind, It’s A Hard Rain Gonna Fall, Lucy in the Sky with Diamonds and other Dylan and Lennon-McCartney lyrics were published as contemporary poetry. The lyrics of Western pop cultural heroes strongly influenced the poetry of a whole generation of Romanian poets, the so-called 1980s “blue-jeans generation”. Mircea Cartarescu, the best-known Romanian writer of today made his debut in a collective volume titled Aer cu diamante EUROPEAN ACADEMIC RESEARCH, VOL. I, ISSUE 5/ AUGUST 2013 749 George Volceanov – The Paradoxes of Romanian Pop / Rock / Folk in Communist Romania (Air with Diamonds), which was just a clumsy rendering of the sky with diamonds. To conclude, the paradoxes of pop and rock culture in Communist Romania were that 1) while Western culture and its representatives including the Beatles and the flower-power movement were ideologically branded, Western cultural heroes promoted in the literary world as respectable anti-capitalist poets; 2) the Romanian pop musicians were much more cautiously censored then Western artists – thus having to resort to canonical text-book authors. 3) another paradox is that, by using text-book lyrics the pop, rock and folk musicians of the 1970s and 1980s largely and rather unwittingly contributed to the aesthetic education of at least two generations of music fans, who became well- acquainted with a real thesaurus of worthy poetry. In recent years high-school graduates can hardly take their baccalaureate examinations, proving that ignorance has become a general standard of the younger generations.